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The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Shot at three times life size with a Canon MPE-65mm macro lens back in March of 2009. I wanted to see how much my post processing skills had changed. Blog post here.
Published in the Jan/Feb 2011 edition of Nation Geographic Young Explore magazine, pages 10 and 11.
For the title of a paper about 3D Printing in Feb 2014 issue of 'Pour la Science', the french edition of Scientific American
Oh joie! publication et chronique du portrait de Bunny et Cyane dans le nouveau Compétence Photo!! en vente dans toutes les bonnes épiceries, comme on dit!
Porche West’s artful expresssions exists at the nexus of photography and sculpture, the point where photography and sculpture converge. Dramatic and thought-provoking photographs are “housed” within salvaged architectural elements adorned with thought-provoking, symbolic objects. The net effect is additive - the sum is greater than the parts - photographs encorported within sculpture deepen the meaning and message of the art.
It is Porche West’s contention that flat photographs fail to achieve the richness and dimensionality of photographic sculpture. Though a framed photograph can tell a good story, a photograph “housed” in sculpture gives a more nuances and deep narrative. Salvaged architectural debris door casings, flooring, window frames, knobs and pulls give the photograph a sense of place, an authenticity that comes from being at home in the soul of the artist’s works.
Porche West’s assemblage is cultural “curatorialism” masked as art. The simple behaviors and beliefs of ordinary people are universal and easily understood. Religious faith, death and burial rituals, celebration and suffering are comprehended, if not shared, by all humanity. To see one’s own emotions in the face of a Haitian child or the hands of an elderly woman in New Orleans, is to be reminded that that which binds us together is greater than that which divides us. We are in essence, one.
'The Bank of Soul' - A four minute video rendering of the artist's studio, philosophy and vision:
Photographer Christopher Porche West was born in California but has family ties in Louisiana. He has been working with the scenes and people of New Orleans for more than 30 years. His interests began in the late 1970s when he came to New Orleans from the University of California Santa Cruz to research free people of color. He continued to be interested in the city's culture and decided to pursue topics in contemporary New Orleans, including Creoles, Mardi Gras Indians, jazz funerals, neighborhood events, and passing rites. Though he kept up his commercial studio in Newport Beach, California, he self-published 'Eloquent Visages,' a series of Mardi Gras Indian portraits. In 1995, West permanently moved in New Orleans. He set up a temporary studio for the Indians that allowed them to be in control of the means of their documentation; this was a first. In the late 1990s, he continued to explore his curiosity in the people of New Orleans, but he also began experimenting with scrap material that he found around the city. His new medium was part photography, part sculpture. His relationship with the American Haitian Development Association allowed him to make three trips to Haiti in the time span of two years, from 1998-2000. These trips were the first of a series of visits to the Caribbean. In 2003, Carnival Interests led him to visit Cuba. in 2004 and 2012. Though he has been featured in over 40 exhibitions, his most notable accomplishment was being chosen to singularly commemorate the Louisiana bicentennial in Paris. For this event, his work was featured at Festival L'espirit Jazz a Saint Germain des Pres. His work can be found at the New Orleans Museum of Art, Harvard University, Amistad Research Center, and the University of California-San Diego.
Publications:
Eyes of Eagles: New Orleans Black Mardi Gras Indians, A Studio On Desire, New Orleans LA (2009)
'New Orleans - What Can't Be Lost: 88 Stories and Traditions from the Sacred City' University of Louisiana Lafayette Press, Lafayette LA (2010)
'New Orleans: What Can't Be Lost' Louisiana Cultural Vistas, Louisiana Endowment for the Humanities 2011
Expositions:
Through the Lens: 'Photographing African American Life' Amistad Research Center, New Orleans LA 2013
Expo Personal: Christopher Porche West “La Odisea Cultural de New Orleans a Santiago de Cuba, Association Hermanos Paiz, Santiago de Cuba 2012
NOLA NOW : Landscape, Seascape, Cityscape Contemporary Art Center , New Orleans, LA 2012
Residents and Visitors: Twentieth-Century Photographs of Louisiana, New Orleans Museum of Art, 2010
New Orleans Jazz and Heritage Festival, Contemporary Arts and Crafts, New Orleans, LA 2008, 2009, 2010.
Raymond James Gasparilla Festival of the Arts, Tampa FL 2008
Bayou City Art Festival Memorial Park, Houston TX 2008
“Santiago de Cuba: ReBirth & Congas en la Calle” McKenna Museum of African-American Art, New Orleans, La 2008
Three Rivers Art Festival, Covington, LA 2007
Bogue Falaya Award
“Regards sur la Nouvelle Orleans” (Visions of New Orleans) French Ministry of Culture, Saint Honor? Paris, France 2007.
New Orleans Jazz and Heritage Festival, Contemporary Arts and Crafts, New Orleans, LA 2007
'Fresh Art' New Orleans Arts Council 2006, Award of Merit
“Unforgotten Souls- New Orleans, Haiti, Cuba, Liberia” 333 Bush Street, San Francisco, CA 2006
Sausalito Arts Festival, Sausalito, CA 2006- 1st Place Mixed Media
Coconut Grove Art Festival, Coconut Grove, FL 2006
New Orleans Jazz and Heritage Fesitval, Contemporary Arts and Crafts, New Orleans, LA 2006 Best of Show
From Louis XIV to Louis Armstrong: A Cultural Tapestry, The Historic New Orleans Collection, New Orleans 2006
The Darkroom, New Orleans Center for Photographic Arts, New Orleans, LA 2005
New Orleans Jazz and Heritage Fesitval, Contemporary Arts and Crafts, New Orleans, LA 2005
La Louisiane, del la colonie franciais a l’Etat americain, Mona Bismark Foundation, Paris 2006
Haiti Cherie: 200 Years of Independence, Alliance Francaise, New Orleans, LA 2005
New Orleans Jazz and Heritage Festival 2004, Contemporary Arts and Crafts. ?Best Display.
Haiti Cherie: 200 Years of Haitian Independence, Alliance Francaise, New Orleans, LA 2004
Galerie Laurent Herschtritt, Paris, France. 2003
“L’ame Creole: Visages de la Nouvelle-Orleans et Haiti” Alliance Francaise, Paris, France. 2003
“Remembrance,” A Memorial of the 911 Anniversary - Pan American Life Building, New Orleans, LA 2002
“A Moveable Feast: The Essence of New Orleans in Elements of Art & Architecture,” International House, New Orleans, LA 2002
'Fresh Art' New Orleans Arts Council 2001
New Orleans Jazz and Heritage Festival 2001 Louisiana Marketplace ?
Exploring Assemblage in New Orleans,' Barrister's Gallery, New Orleans, LA 2000
Group Show: 'Friends of Haiti,' Barrister's Gallery, New Orleans, LA 2000
'Haiti Cherie' Haitian Association for Human Development, New Orleans, LA 2000
“Love and Death in Louisiana'' New Orleans Jazz and Heritage Festival Grandstand, New Orleans, LA 2000
Kentuck Festival of the Arts, Northport, Alabama. 1999
New Orleans Jazz and Heritage Festival 1999 Contemporary Crafts 1999: Best Display Award,
New Orleans Jazz and Heritage Festival ??New Orleans Jazz and Heritage Festival, Louisiana Marketplace 1998
'Native Visions,' Galerie Royal, New Orleans, LA 1998
Folk Arts of Louisiana, Festival International, Lafayette, LA 1998
'A View From New Orleans,' L'Atelier Piroska, New Orleans, LA 1997
'You See What I Say,' University of Alabama, State Black Archives; Huntsville, AL 1997
'The Mardi Gras Indians,' Mardi Gras Museum, Galveston TX 1997
The Power of the Needle and Thread,' New Orleans Center, New Orleans 1995
'You See What I Say,' La Belle Gallerie; New Orleans, LA 1995
'New Orleans Views' Sheraton Hotel, Atrium Gallery, New Orleans 1995
'Jazz Fest and Heritage of Nouvelle Orleans' Indigo Nights Gallery, New Orleans, LA 1995
'Local Scenes,' City Hall, New Orleans, LA 1994
The Center for Creative Photography of San Juan Capistrano, CA 1993
'Mardi Gras Indians' Tilden Foley Gallery, New Orleans 1991
'Architecture for People: A Social Message,' Lyceum Theatre, San Diego, CA 1990
'Wine History of the Santa Cruz Mountains' The Octagon, Santa Cruz County Historical Museum, Santa Cruz, CA 1980
'Creoles of Color: A Vanishing Louisiana Legacy' Merrill College, University of Calif., Santa Cruz, 1980
Group Show, Gallery of Contemporary Photography, Laguna Beach, CA 1980
Light Works, Studio Gallery - Santa Ana, CA 1980
Uruguay: 1-) Fernando Muslera; 22-) Martín Cáceres, 2-) Diego Lugano, 3-) Diego Godín, 11-) Álvaro Pereira; 20-) Álvaro González (8- Sebastián Eguren 70´), 15-) Diego Pérez, 17-) Egidio Arévalo Ríos, 10-) Gastón Ramírez (13- Sebastián Abreu 57´); 9-) Luis Suárez (7- Cristian Rodríguez 77´) y 21-) Edinson Cavani. DT: Oscar Tabárez
Chile: 1-) Claudio Bravo; 21- )Marco González, 3-) Waldo Ponce, 5-) Pablo Contreras; 4-) Mauricio Isla, 17-) Gary Medel, 13-) Marcelo Díaz (10- Mirovan Mirosevic 61´); 14-) Matías Fernández; 11-) Eduardo Vargas (19- Gustavo Canales 72´), 9-) Humberto Suazo (22- Esteban Paredes 61´) y 20-) Matías Campos. DT: Claudio Borghi.
Goles: Luis Suárez (URU) 42´, 45, 68´ y 73´.
Amarillas: Pablo Contreras (CHI) 39´; Gary Medel (CHI) 54´; Martín Cáceres (URU) 59´; Cristian Rodríguez (URU) 85´.
Arbitros: Héctor Baldassi, Gustavo Esquivel y Diego Bonfá (terna argentina)
Estadio Centenario, Montevideo, Uruguay.
Camera: Canon EOS 5D Mark II
Lens: Sigma APO 150-500mm f/5-6.3 DG OS HSMmm
Focal Length: 403 mm
Exposure: ¹⁄₅₀₀ sec at f/6.3
ISO: 800
Published: salsaonline.org/salsa-romantica/gustavo-rodriguez/u-de-ch...
This photograph was published in the Illustrated Chronicle on the 3rd of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Wood report seeks 40 per cent reduction in youth unemployment by 2020.
The final report by the group tasked with helping Scotland develop a world class system of vocational education and training has been welcomed by the Scottish Government.
Cabinet Secretary for Training, Youth and Women’s Employment Angela Constance joined Sir Ian Wood, fellow members of the Commission for Developing Scotland’s Young Workforce and representatives from COSLA, at an Edinburgh school to mark the publication. Its recommendations include:
Youth unemployment should be reduced by 40 per cent
Enhanced careers education in Primary School
The opportunity to prepare for a Modern Apprenticeship (MA) in the senior phase of school
More support for employers to take on young employees
Closer links between employers and schools and colleges
Measures to improve gender balance in training
Measures to remove barriers for young disabled people, care leavers and black and minority ethnic groups taking up training opportunities.
The Scottish Government will respond formally to the report in the coming weeks, with £12 million budget consequentials already set aside for youth employment.
Speaking at Craigroyston Community High School Ms Constance said:
“Today’s report sets out recommendations to deliver a 40 per cent reduction in youth unemployment by 2020 and a challenging programme to transform the way we work with young people, employers, schools and colleges to ensure that all our young women and men have the choices and opportunities they need to fulfil their potential.
“Our young people are an enormous asset in helping us to achieve our aspiration to strengthen Scotland’s economy.
“Our ambitions to see significant improvements in our youth employment numbers go beyond a return to pre-recession levels when, during a period of growth, youth unemployment stood 7.7 percentage points above that of the general population.
“A substantial amount of activity to help young women and men towards employment is already in place, including our very successful Modern Apprenticeship programme, which has seen over 77,000 new opportunities in the last three years. Opportunities for All also guarantees every 16 to 19 year old the offer of a place in education or training.
“The £12 million we announced earlier this year will help accelerate progress, and we will discuss with our partners in local government how best that is deployed.
“I would like to thank Sir Ian, members of the Commission and all those who have contributed to this landmark report which both matches the scale of our ambition and clearly sets out the challenges we face in delivering it.
“There is now much to consider and we will work closely with the public, private and third sectors on how the recommendations could be taken forward. Our partners in local government have a pivotal role to play in tackling youth unemployment and will be very much part of this work going forward.”
"Take notes in no time. Use the intelligent S Pen without unlocking your #GalaxyNote8 screen."
Bought and used by Samsung
An illustration of mine in the french edition of Scientific American, for a Jean-Paul Delahaye's article on maximum overhangs.
Maitland Opportunity Unlimited
Published for Maitland City Council
Set up and printed by Tipper & Cliff 393 High Street, Maitland
Includes maps and inserts
Published c.1961
14cm x 21cm
This image may be used for study and personal research purposes
Please observe copyright where applicable and acknowledge source of all images. If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below
The Postcard
A postally unused carte postale that was published by Lapina. The card, that has a divided back, was printed in Paris.
Rin Tin Tin
Nénette and Rintintin were the source of the name of the Hollywood film star dog Rin Tin Tin.
Rin Tin Tin (September 1918 – August 10, 1932) was a male German Shepherd dog born in Flirey, France, who became an international star in motion pictures.
He was rescued from a Great War battlefield by an American soldier, Lee Duncan, who nicknamed him "Rinty". Duncan trained Rin Tin Tin, and obtained silent film work for the dog.
Rin Tin Tin was an immediate box-office success, and went on to appear in 27 Hollywood films, gaining worldwide fame. Rin Tin Tin was responsible for greatly increasing the popularity of German Shepherd dogs as family pets.
The immense profitability of his films contributed to the success of Warner Bros. studios, and helped advance the career of Darryl F. Zanuck from screenwriter to producer and studio executive.
After Rin Tin Tin died in 1932, the name was given to several related German Shepherd dogs featured in fictional stories on film, radio, and television. Rin Tin Tin Jr. appeared in some serialized films, but was not as talented as his father.
Rin Tin Tin III, said to be Rin Tin Tin's grandson, but probably only distantly related, helped promote the military use of dogs during World War II. Rin Tin Tin III also appeared in a film with child actor Robert Blake in 1947.
Duncan groomed Rin Tin Tin IV for the 1950's television series The Adventures of Rin Tin Tin, but the dog performed poorly in a screen test, and was replaced in the TV show by trainer Frank Barnes's dogs, primarily one named Flame Jr., called JR, with the public being led to believe otherwise.
Instead of shooting episodes, Rin Tin Tin IV stayed at home in Riverside, California. The TV show Rin Tin Tin was nominated for a PATSY Award in both 1958 and 1959, but did not win.
After Duncan died in 1960, the screen property of Rin Tin Tin passed to TV producer Herbert B. Leonard, who worked on further adaptations such as the 1988–1993 Canadian-made TV show Katts and Dog, which was called Rin Tin Tin: K-9 Cop in the US, and Rintintin Junior in France.
Following Leonard's death in 2006, his lawyer James Tierney made the 2007 children's film Finding Rin Tin Tin, an American–Bulgarian production based on Duncan's discovery of the dog in France.
Meanwhile, a Rin Tin Tin memorabilia collection was being amassed by Texas resident Jannettia Propps Brodsgaard, who had purchased several direct descendant dogs from Duncan, beginning with Rinty Tin Tin Brodsgaard in 1957.
Brodsgaard bred the dogs to keep the bloodline. Brodsgaard's granddaughter, Daphne Hereford, continued to build on the tradition and bloodline of Rin Tin Tin from 1988 to 2011; she was the first to trademark the name Rin Tin Tin.
Hereford also opened a short-lived Rin Tin Tin museum in Latexo, Texas. Hereford passed the tradition to her daughter, Dorothy Yanchak, in 2011. The current dog, Rin Tin Tin XII, owned by Yanchak, takes part in public events to represent the Rin Tin Tin legacy.
The Origins of Rin Tin Tin
Following advances made by American forces during the Battle of Saint-Mihiel, Corporal Lee Duncan, an armourer of the U.S. Army Air Service, was sent forward on the 15th. September 1918, to the small French village of Flirey to see if it would make a suitable flying field for his unit, the 135th. Aero Squadron.
The area had been subjected to aerial bombing and artillery fire, and Duncan found a severely damaged kennel which had once supplied the Imperial German Army with German Shepherd dogs. The only dogs left alive in the kennel were a starving mother with a litter of five nursing puppies, their eyes still shut because they were less than a week old. Duncan rescued the dogs, and brought them back to his unit.
When the puppies were weaned, he gave the mother to an officer and three of the litter to other soldiers, but he kept one puppy of each sex. He felt that these two dogs were symbols of his good luck.
He dubbed them Rin Tin Tin and Nanette after a pair of good luck charms called Rintintin and Nénette that French children often gave to the American soldiers. The soldiers were told that Rintintin and Nénette were lucky lovers who had survived a bombing attack, but the original dolls had been designed by Francisque Poulbot before the war in late 1913 to look like Paris street urchins. Contrary to linguistic clues and popular usage, Poulbot said that Rintintin was the girl doll.
Duncan sensed that Nanette was the more intelligent of the two puppies.
In July 1919, Duncan sneaked the dogs aboard a ship taking him back to the US at the end of the war. When he got to Long Island, New York, for re-entry processing, he put his dogs in the care of a Hempstead breeder named Mrs. Leo Wanner, who trained police dogs.
Nanette was diagnosed with pneumonia; as a replacement, the breeder gave Duncan another female German Shepherd puppy. Duncan travelled to California by rail with his dogs. While Duncan was travelling by train, Nanette died in Hempstead. As a memorial, Duncan named his new puppy Nanette II, but he called her Nanette.
Duncan, Rin Tin Tin, and Nanette II settled at his home in Los Angeles. Rin Tin Tin was a dark sable colour, and had very dark eyes. Nanette II was much lighter in colour.
An athletic silent film actor named Eugene Pallette was one of Duncan's friends. The two men enjoyed the outdoors; they took the dogs to the Sierras, where Pallette liked to hunt, while Duncan taught Rin Tin Tin various tricks. Duncan thought that his dog might win a few awards at dog shows and thus be a valuable source of puppies bred with Nanette for sale.
In 1922, Duncan was a founding member of the Shepherd Dog Club of California, based in Los Angeles. At the club's first show, Rin Tin Tin showed his agility, but also demonstrated an aggressive temper, growling, barking, and snapping.
It was a very poor performance, but the worst moment came afterward when Duncan was walking home. A heavy bundle of newspapers was thrown from a delivery truck and landed on the dog, breaking his left front leg. Duncan had the injured limb set in plaster, and he nursed the dog back to health for nine months.
Ten months after the break, the leg was healed and Rin Tin Tin was entered in a show for German Shepherd dogs in Los Angeles. Rin Tin Tin had learned to leap great heights.
At the dog show while making a winning leap, he was filmed by Duncan's acquaintance Charley Jones, who had just developed a slow-motion camera. Seeing his dog being filmed, Duncan became convinced Rin Tin Tin could become the next Strongheart, a successful film dog that lived in his own full-sized stucco bungalow with its own street address in the Hollywood Hills, separate from the mansion of his owners, who lived a street away next to Roy Rogers.
Duncan later wrote:
"I was so excited over the film idea
that I found myself thinking of it night
and day."
The Film Career of Rin Tin Tin
Duncan walked his dog up and down Poverty Row, talking to anyone in a position to put Rin Tin Tin in film, however modest the role.
The dog's first break came when he was asked to replace a camera-shy wolf in The Man from Hell's River (1922) featuring Wallace Beery. The wolf was not performing properly for the director, but under the guidance of Duncan's voice commands, Rin Tin Tin was very easy to work with. When the film was completed, the dog was billed as "Rin Tan".
Rin Tin Tin would be cast as a wolf or wolf-hybrid many times in his career, because it was much more convenient for filmmakers to work with a trained dog.
In another 1922 film titled My Dad, Rin Tin Tin picked up a small part as a household dog. The credits read:
"Rin Tin Tin – Played by himself".
Rin Tin Tin's first starring role was in Where the North Begins (1923), in which he played alongside silent screen actress Claire Adams. This film was a huge success, and has often been credited with saving Warner Bros. from bankruptcy.
It was followed by 24 more screen appearances. Each of these films was very popular, making such a profit for Warner Bros. that Rin Tin Tin was called "the mortgage lifter" by studio insiders.
A young screenwriter named Darryl F. Zanuck was involved in creating stories for Rin Tin Tin; the success of the films raised him to the position of film producer. In New York City, Mayor Jimmy Walker gave Rin Tin Tin a key to the city.
Rin Tin Tin was much sought after, and was signed for endorsement deals. Ken-L Ration, Ken-L-Biskit, and Pup-E-Crumbles all featured him in their advertisements. Warner Bros. fielded fan letters by the thousands, sending back a glossy portrait signed with a paw print and a message written by Duncan:
"Most faithfully, Rin Tin Tin."
In the 1920's, Rin Tin Tin's success for Warner Bros. inspired several imitations from other studios looking to cash in on his popularity, notably RKO's Ace the Wonder Dog, also a German Shepherd dog.
Around the world, Rin Tin Tin was extremely popular because as a dog he was equally well understood by all viewers. At the time, silent films were easily adapted for various countries by simply changing the language of the intertitles. Rin Tin Tin's films were widely distributed.
Film historian Jan-Christopher Horak wrote that by 1927, Rin Tin Tin was the most popular actor with the very sophisticated film audience in Berlin. One fan wrote:
"He is a human dog, "human in
the real big sense of the word."
A Hollywood legend holds that at the first-ever Academy Awards competition in 1929, Rin Tin Tin was voted Best Actor, but that the Academy of Motion Picture Arts and Sciences, wishing to appear more serious and thus determined to have a human actor win the award, removed Rin Tin Tin as a choice and re-ran the vote, leading to German actor Emil Jannings winning the award.
Author Susan Orlean stated this story as fact in her 2011 book Rin Tin Tin: The Life and the Legend. However, former Academy head Bruce Davis has written that the 1928 ballots, kept in storage at the Academy's Margaret Herrick Library, show a complete absence of votes for Rin Tin Tin.
Davis called the story an urban legend that probably originated in a joke ballot circulated that year by Zanuck, who wanted to mock the concept of the Academy Awards.
Although primarily a star of silent films, Rin Tin Tin did appear in four sound features, including the 12-part Mascot Studios chapter-play The Lightning Warrior (1931), co-starring with Frankie Darro. In these films, vocal commands would have been picked up by the microphones, so Duncan likely guided Rin Tin Tin by hand signals.
Rin Tin Tin and the rest of the crew filmed much of the outdoor action footage for The Lightning Warrior on the Iverson Movie Ranch in Chatsworth, Los Angeles, known for its huge sandstone boulders and widely recognized as the most heavily filmed outdoor shooting location in the history of the movies.
Rin Tin Tin and Nanette II produced at least 48 puppies; Duncan kept two of them, selling the rest or giving them as gifts. Greta Garbo, W. K. Kellogg, and Jean Harlow each owned one of Rin Tin Tin's descendants.
The Death of Rin Tin Tin
On the 10th. August 1932, Rin Tin Tin died at Duncan's home on Club View Drive in Los Angeles. Duncan wrote about the death in his unpublished memoir: He heard Rin Tin Tin bark in a peculiar fashion, so he went to see what was wrong. He found the dog lying on the ground, moments away from death.
In the United States, Rin Tin Tin's death set off a national response. Regular programming was interrupted by a news bulletin. An hour-long program about Rin Tin Tin played the next day.
Newspapers across the nation carried obituaries. Magazine articles were written about his life, and a special Movietone News feature was shown to movie audiences.
In the press, aspects of the death were fabricated in various ways, such as Rin Tin Tin dying on the set of the film Pride of the Legion (where Rin Tin Tin Jr. was working), dying at night, or dying at home on the front lawn in the arms of actress Jean Harlow, who lived on the same street.
In a private ceremony, Duncan buried Rin Tin Tin in a bronze casket in his own backyard with a plain wooden cross to mark the location. Duncan was suffering the financial effects of the Great Depression and could not afford a finer burial, nor even his own expensive house.
He sold his house, and quietly arranged to have the dog's body returned to his country of birth for reburial in the Cimetière des Chiens et Autres Animaux Domestiques, the pet cemetery in the Parisian suburb of Asnières-sur-Seine.
In a ceremony on the 8th. February 1960, Rin Tin Tin was honored with a star on the Hollywood Walk of Fame at 1627 Vine Street.
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All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Model : Miss dronjo
Make Up & hairs by : Valeria Spiga
Light / Editing by me
Dressed by : www.myspace.com/tramaneracreation
www.facebook.com/pages/TramaNera-Creation/186784169093
Doronjo accessories created by Martina & Maurizio
A special tnx at : Metzcal Pub - Lounge Cafe' Restaurant
Piazza Yenne, 15
09124 Cagliari
Lights : sigma 530 dg super with white umbrella on the left and euroblitz with chrome umbrella on camera right.
All triggered with cactus wireless system
special thanks to all who have collaborated on this set.Without you would never have realize.
for those who do not remember......
Doronjo is an attractive blonde who leads the Dorombo Gang in locating the Dokuro Stone. She is known for her vanity, intelligence and leadership, just like her counterpart from Time Bokan
Champaign County Extension Services Collection, Champaign County Historical Archives
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During last night's bomb threat on Forbes Avenue I was able to get some pretty cool shots. Some of them appear on the Pitt News website, this being one of them!
This photo of rice growing in Southern Brazil has been published online in a Rice Today article, by the International Rice Research Institute (IRRI), called Country Snapshots: Brazil, in Rice Today
A monograph of the pheasants /.
London, England :Published under the auspices of the New York Zoological Society by Witherby & Co.,1918-1922..
The American Association of Petroleum Geologist, the AAPG, recently used one of my shots as a cover and several others within the context of the article and publication (not the ones shown below). This shot was taken on the Mesa area between the Wind River Range and the Wyoming Range outside of Pinedale, Wyoming. I really appreciate your visits and comments!
Golden Eagle Launch: www.flickr.com/photos/somewhereoutside/5496473099/
Rocky Mountain Goats: www.flickr.com/photos/somewhereoutside/5481816781/
Sage Grouse: www.flickr.com/photos/somewhereoutside/5472869586/
Rocky Mountain Goats: www.flickr.com/photos/somewhereoutside/5452454572/
GBH Out on a Limb: www.flickr.com/photos/somewhereoutside/5447110698/
Teton Backdrop: www.flickr.com/photos/somewhereoutside/5438808748/
Mule Deer Mountains: www.flickr.com/photos/somewhereoutside/5425352096/
Napping Moose: www.flickr.com/photos/somewhereoutside/5418277257/
Big Horn series: www.flickr.com/photos/somewhereoutside/5413751532/
Nice when Viewed on Black , © DouglasMcCartney, SomewhereOutside, All Rights Reserved
Great stuff! My 365 project was published on to an amazing magazine called ERRR and a great friend of mine, Elen Tinoco took great pics of the mag! Please check out her stuff, the magazine's stuff, and get super inspired :D
It sucks I still haven't gotten my hands on the mag tho :/
Tasselled
Photographer: Shavonne Wong/Zhiffy Photography
Model: Diandra Forrest
Hair: Wade Lee
Makeup: Tatiana Ward
Assistant: Marcus Teo
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Quidam
Quidam ha debuttato sotto il tendone ad aprile 1996 a Montreal. Da allora, la produzione ha visitato cinque continenti ed ha emozionato milioni di persone. Nel dicembre 2010, Quidam ha intrapreso un nuovo viaggio, presentare la stessa entusiasmante produzione nei palazzetti, partendo dal Nord America. Il cast internazionale comprende 45 acrobati, musicisti, cantanti e artisti di prima classe.
La giovane Zoé è annoiata; i suoi genitori, distanti e apatici, la ignorano. La sua vita ha perso qualsiasi significato. Cercando di riempire il vuoto della sua esistenza, scivola in un mondo immaginario - il mondo di Quidam - dove incontra dei personaggi che la incoraggiano a liberare la sua anima.
Cirque du Soleil
Dai circa 20 artisti di strada di cui la compagnia era formata al suo inizio nel 1984, il Cirque du Soleil, basato in Quebec, è oggi la società leader nel settore dell’entertainment. Il gruppo conta 4.000 lavoratori, di cui oltre 1.200 artisti di oltre 50 nazionalità diverse.
Cast
The cast of Quidam has over 50 acrobats, musicians, singers, and characters, some of which are detailed below.
Zoé: She is the principal character in Quidam. Although average in nature, she longs for excitement.
Father: Completely, though unwittingly, self-absorbed. His white shoes are the only indication of a hidden personality.
Mother: Conveys an air of absence and alienation. Inside her lie fear, frustration, and desire.
Quidam: The show's titular character, who is anonymous, everyone, and no one. He may have stepped out of a surrealist painting or been conjured up out of Zoé's imagination.
John: Part game-show host and part substitute teacher who is the guide through the world of Quidam. Also is represented as a father figure to Zoé hence him stepping into her father's shoes.
Target: A living human bullseye fired at by everyone but is always smiling.
Chiennes Blanches: The silent chorus, the nameless and the faceless, the dehumanized, mechanical crowd, simultaneously leading and following. They also accompany the principal characters as they make their entrances and exits.
Boum-Boum: Enjoys screaming at the audience and walking away proudly, but will run away if an audience member screams back.
Rabbit: A minor character who chases and gets chased by other characters.
Aviator: A character who has skeletal wings who looks like he is not ready to take off.
Les Égarés: Lost individuals who gather together in the streets and abandoned buildings of Quidam. They perform in the banquine act.
Acts
Quidam combines a mix of acrobatic skills and traditional circus acts.
German Wheel: An acrobat performs tricks within a German wheel.
Diabolo: A performer manipulates diabolos (i.e., Chinese yo-yo), which are two sticks linked by a string on which a wooden spool balances.
Aerial contortion in silk: Intensity, power and grace combine when a young woman becomes one with the column of red fabric which supports and cradles her.
Skipping ropes: Drawing inspiration from dance, acrobatics, and the art of manipulation, a group of 20 acrobats performs this familiar child's game in a steady stream of solo, duo, and group jumps and figures.
Aerial hoops: Two performers use hoops attached to the ceiling to perform tricks.
Handbalancing: Using strength and balance, a performer contorts into poses while on balancing canes.
Spanish webs: Artists fly over the stage, attached to trolleys on the overhead tracks. In turn or as a group, they occasionally perform a sudden drop, stopped only by the ropes looped around their waists or ankles.
Statue: Never losing contact, two strong, flexible performers move almost imperceptibly, assuming positions impossible without an impeccable sense of balance.
Banquine: An Italian acrobatic tradition going back to the Middle Ages that combines gymnastics and ballet. Showcasing the agility of the human body, up to 15 artists perform sequences of feats and human pyramids with their perfectly synchronized movements.
Juggling: Up to five balls fly through the air, with additional manipulation of a briefcase, umbrella, and bowler hat.
1911 postmarked postcard view of Randolph Street in Garrett, Indiana. This view was looking south from the Quincy Street intersection. Some of the buildings in this view are shown in the 1901 Sanborn™ fire insurance map set for Garrett while other buildings in this view replaced older (mostly wood frame) buildings that are shown in that map set. Horse-drawn buggies and wagons were the sole mode of vehicular transportation portrayed in this scene. There were no automobiles in sight. The pedestrians, including two young girls, were wearing their winter coats.
The first three lots on the southeast corner of the intersection were vacant when the 1901 map set was published. In this scene, the first two of those lots were occupied by a building with a GARAGE sign, but the third lot was still vacant. The 1901 map set shows a saloon in the building on the fourth lot south of Quincy Street. This building had some artistic advertising painted on the side when this photograph was taken. The painter’s name or company name was painted at the bottom of the wall. M. D. McCONARY? Next door, the small wood frame building was a barbershop in 1901. In this scene a barber’s pole is mostly hidden by the parked wagon. The map set shows a two-story wood frame building occupied by the City Hotel. That building appears to have been replaced by a two-story brick structure. The LEM. ON LAUNDRY sign is on a building that was a lunch room in 1901. The next two brick buildings are in the map set. The first was a cigar store and the second was a grocery. The map set shows three small single-story wood frame buildings south of that grocery. However, only two of those buildings are visible in this scene. The COVERDALE RESTAURANT sign was on the first building and advertised SHORT ORDERS A SPECIALTY. A restaurant was in that building in 1901 as well. A jeweler’s trade symbol (an oversized pocket watch) was hanging from the second of the two visible buildings. However, the map set shows a barbershop and then an unidentified office south of the restaurant. In this scene, a gasoline pump was standing on the sidewalk in that vicinity, but It’s unclear which business it was associated with.
In 1901, there were no two-story brick buildings in that block on the east side of Randolph Street south of King Street. In this scene, the sign on the two-story building advertised __D CLARK DRUGS, PAINTS, OILS & WALL PAPER. A 1905 directory of druggists¹ listed O. F. Clark as one of four druggists in Garrett. A similar 1912 directory² listed the Clark & Smith business in Garrett. The 1910 census listed a Garrett druggist whose name appears to be Orelin F. Clark. The bottom line of the sign advertised ACME STOCK FOOD. It was cattle feed, and was produced in Chicago by the Acme Food Co. Nearby, another barber’s pole stood at the curb. In 1901, a barbershop occupied one of the small single-story wood frame buildings in that area.
The KEYSER sign appears to be on the large three-story building that was located on the southeast corner at Keyser Street. The 1901 map set shows a three-story brick building on that corner occupied by the Ross Hotel.
On the west side of the street, several signs were located in the vicinity of the King Street intersection. They included HALTER’S PHARMACY. This was A. F. Halter. The 1901 map set shows a drugstore on the fourth lot south of King Street. Another sign advertised J. S. PATTERSON DRUGGIST. This business sign may be on the northwest corner at King Street, but the map set shows a toy store at that location. Both of these druggists were listed as Garrett druggists in the 1905 directory. The sign advertising BOSTON CLOTHING AND SHOE STORE appears to be on the second building north of King Street. The map set shows a furniture store in the south half of that building and a dry goods business in the north half.
The J. L. GEHRUM TAILORS sign was hanging from a small single-story wood frame building. The map set shows a tailor and a barber in just such a small wood frame building sandwiched between two-story brick buildings. A barber’s pole at that location was mostly hidden by one of the horses. A small sign below the tailors’ sign (and above the horse’s head) advertised _____ _____ DENTIST. However, that sign was hanging on the next building south.
According to the map set, the two-story brick building north of the tailoring business was occupied by a hardware store. The gasoline pump (visible above the nearest horse) and other items in the two adjacent vacant lots were probably associated with the hardware store.
North of the vacant lots (they weren’t vacant in 1901), the F. O. E. sign identified the Fraternal Order of Eagles hall. The map set shows simply a “club” on the second floor of that third building south of Quincy Street. The map set shows the Masonic Hall on the third floor. Next door to the north was the Wagner Opera House. According to the 1901 map set, the opera house was on the second floor. On the main level, a clothing store occupied the south side of the building and a restaurant occupied the north side. The opera house entrance was in the center between the two businesses. One window next to the restaurant entrance advertised THE GAS ____.
The business on the southwest corner at Quincy Street was a saloon in 1901. The painted sign on the window at the right edge of this scene was cut off, but may advertise a LUNCH ROOM.
1. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
2. Ezra J. Kennedy, ed. The Pharmaceutical Era, Volume 39 (New York, NY: D. O. Haynes & Co., 1912). Available online at books.google.com/books?id=-MDmAAAAMAAJ&printsec=front....
From a private collection.
The full postcard image can be seen here.
www.flickr.com/photos/hoosier_recollections/5288969448/
I have produced a print based on this postcard. Here's a link to an image of the print.
www.flickr.com/photos/hoosier_recollections/4173075562/in...
Copyright 2009-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.